“Like Everyday” is another series of my photographs
juxtaposing the realities of women against the domestic
appliances of the stereotypical world of the professional
housewife.
In it, the shape of a veil is filled not with a pair of eyes
but the business end of an iron, putting a face on the
hot-button issue of the treatment of women in radically
dissimilar cultures.

The Blurred Times series deals with explorations of the
human condition and the vague quality of reality. My aim
is to capture states of being that are intangible in this
world, which we see as a transient and uncertain place.
These states are related with an initial impression, which
is incomplete, and difficult to define. In these pictures
I attempt to evoke those feelings of vulnerability,
emptiness, impermanence and solitude, which are
related to the uncertain times that we live in. Feelings
and perceptions are developing into a more fluid, less
concrete state, made of blurred realities. These images
are haunted depictions of our world, and maybe they
reflect us.

to translate this kind of transient perception of a figure
also transient, I am doing experiments with focus and
light. In these photo-chemical experiments, the use of
light has a double function: it both records and destroys
the information in the picture, denying space references
as well as ordinary perception. My aim is to explore
the representative quality of the invisible and create
atmospheres with subjective impact on reception. The
resulting photographic work, was produced by multiple
exposure during the moment of capture, and deliberately
takes on the expression of a drawing.Â

I am interested in exploring these notions of emptiness
and haunting, by capturing candid moments of
anonymous people in public spaces, where faces and
bodies become an object of investigation. The bodies
seem to lose density, and the individual becomes
detached from the physical world around them. In order

Growing up a stone’s throw from Hollywood and Vine,
I have always been intrigued by the real and the
manufactured Hollywood. The staged Hollywood at Home
photographs from the 40’s and 50’s of celebrities at play
or at home with their families are particular favorites
of mine.
In a reality-tv society where celebrity and stardom is now
possible without talent or reason, the idea that anyone
can become a star has indeed, become a reality. My
series, Hollywood at Home, looks at the idea of elevating
family and friends into a false stardom, through lighting
and position, where they, perhaps,
are just on the verge of being discovered, happy
to participate in the artificial glorification of who
they really are.

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CALL FOR PROJECT(S)
VILLES MOBILES (MOBILE CITIES)
With two books per year, the collection Villes
mobiles is about a way to look at a metropolis or
a famous city, and about the meeting between
a photographer and a writer. Such books bring
an intimate vision of a place, quite the opposite
of a tourist guide.
The only constraint is that the images must be
taken using a smartphone. Check out 3 Days
in Venise and Beirut to Nowhere to get a feel of
what the current books look like.
HOW DOES IT WORK?
1 - Travel! All cities are of interest to us, as long
as they are evocative.
If you already have a series ready, it can be
taken in consideration too.
2 - Be thorough in the selection of your images:
we need a maximum of 40 photos, whose
narrative qualities are on a par with their
aesthetic power.
3 - Find yourself a writer to comment on your
images and build together a real story, a work
of fiction, or a poem... A piece of text that is a
counterpoint to your images.
4 - Once the images and the text are ready,
put the lot into a PDF file and send the lot to
villesmobiles@editionsdejuillet.com

Don’t worry about page layout or whatever,
that’s our job. All we need is to understand your
work, so its presentation must be clear. The final
PDF file shouldn’t weigh more than 8Mb.
5 - Wait a few weeks. It’ll take a little while to
check all the entries. We will
contact you whether you are selected or not
anyway.
AND... WILL I GET ANY MONEY FROM THIS?
Er... No. These little books are being done using
our own personal funds. The proof-reader, the
designer and the PR person are all volunteers.
If the book sells, then we get our money back.
No more, no less. This means will need your
permission to publish anything, as well as
model releases. In any case, a contract will be
drawn if you are selected.
I STILL HAVE QUESTIONS!
Don’t panic. Contact us.
villesmobiles@editionsdejuillet.com

When Catherine Nelson embraced the medium of
photography, she felt that taking a photo representing
only what was within the lens, wasn’t expressing her
inner and personal experience of the world around her.
With the eye and training of a painter and with years of
experience in the film visual effects industry, she began
to look for ways to take her photos to another level.
The 4 bodies of work, Future Memoires, Nuit Americaine,
Other Worlds and Danube, are what she calls “floating
worlds”. Shot in Australia, Europe, USA and Asia, each
work is meticulously composed with thousands
of assembled details. Visual poetry, nature photography
and digital techniques blend together to give shape
to these transcendental landscapes. The result is a
contemporary pictorial mythology that subtly reminds
the viewer of a profound truth: that it is in the flourishing
variety of the local that the fate of the world resides.

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Dillon Marsh
Invasive Species
www.dillonmarsh.com

En 1996, un palmier est apparu du jour au lendemain dans

In 1996 a palm tree appeared almost overnight in a suburb of

une banlieue de Cape Town. C’était censé être le premier mât

Cape Town. This was supposedly the world’s first ever disguised

de télécommunication camouflé au monde. Depuis, ces arbres

cell phone tower. Since then these trees have spread across

se sont propagés à travers la ville, l’Afrique du Sud et le reste

the city, South Africa and the rest of the world. Invasive Species

du monde. La série Invasive species explore la relation entre

explores the relationship between the environment and the

l’environnement et les tours déguisées de Cape Town et de ses

disguised towers of Cape Town and its surrounds.

environs.

I seek to find things that are out of the ordinary, picking them

Je cherche des sujets qui sortent de l’ordinaire, les extirpant

out of the landscape where they might

d’un paysage où ils pourraient autrement passer inaperçus. Je

otherwise blend in. I choose objects that can be found in

choisis des objets qui existent à l’état de multitude dans leur

multitude within their environment so that I can depict a family

environnement, afin de pouvoir les regrouper en familles au

of objects in a series of photographs. By displaying each project

travers d’une série de photographies. En présentant chaque

as such, I feel I am able to show both the character of the

projet de cette façon, je cherche à montrer à la fois le caractère

individual members, and the characteristics that make these

individuel de chacun de mes sujets et à en dégager des

objects a family.

caractéristiques communes permettant d’en faire des familles.

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Linda Alterwitz
Portraits

www.lindaalterwitz.com
In Linda Alterwitz’s series “In-Sight”, she metaphorically

understanding of ourselves. Not only does technology give us

explores the feelings of introspection and connection during

tangible information, but also it affects the way we process

challenging times of ill health. Over a decade ago, Alterwitz was

that information, and consequently, changes the way we think.

diagnosed with a brain tumor. Luckily the tumor was benign

By being able to see what’s inside of us physically we can then

and successfully removed, however, the experience left her

think about what’s happening in our bodies in a different way.

not only with the fear of its return, but more so with the solid

For some, being able to see what physically plagues us may be

conviction that life is not perfect and that there are always

reassuring, but for others it can incite fear.

challenges to be confronted. Pulling from her own formative
experiences, Alterwitz brings personal insight and awareness

Alterwitz exposes these emotions with stark bluntness and

to this series, which allows us to bear witness to the inner mind,

at other times with tenderness. While the details of the skin

seeing places of safe refuge, emotions, decisions, choices,

and features are blurred, lost in the medical scan, expression

dilemmas, fears, resolutions, innermost thoughts, dreams,

can be seen in the tilt of a head, the rise of a chin, the lean of a

wishes, and when faced with issues of mortality, a resolute

shoulder. Combined with the layering of landscape, the result

desire to live or even an acceptance to die.

is an eerie enshrouding of faces and figures that addresses
notions of loss and remembrance, enlightenment and anger,

Using medical PET scans layered with recognizable images

and life and death. Images of landscape and interior spaces are

of landscape or interior spaces, the results are hauntingly

blended with the images of our internal organs and structures

ethereal portraits of people when they are at their most

revealing beauty as it reflects life, contemporary culture, and

vulnerable, literally stripped down to reveal cancers and

the intense realities of everyday life, shedding light on the

illnesses hidden inside. Ironically it’s the technology of

struggles and fears related to being human.

the PET scans that permits an otherwise inaccessible level
of intimacy. Alterwitz uses technology to offer a greater

I realize a project “NewReadingPortraits” since 2003.
This project is a portrait of society through personal stories.
I photograph a variety of people who respond to my ad on
the internet, on a poster, etc.. I photograph them at home or
at work. I am interested in the person and his life. Before the
shooting, I communicate and discover their world.
-What are they doing in life?
-In what parts do they live?
-What are their passions?
After these exchanges and dialogues, I compose the picture. I
amplify these stories with my sensitivity and my imagination. I
explain their inside in a picture with objects visible. This project

To choke, to crush, to forget, to drown, to abuse, to lock away, to
dirty, corrupt, disparage, spoil, terrorize....
This project around flowers began three years ago, when my
father died abruptly following a painful cancer. After his death,
the whole family then met in the living room around his body.
Waiting for the funeral plunged my family in a place outside
of time and space, a place no outsider could penetrate or even
understand.
Those days seem so unreal that I cannot even remember how
long has elapsed since the arrival of dad’s body in the living
room. The hours pass... The beautiful flowers accumulate in this
huge room. As many proofs of the love so many people felt for
this man, my beloved father. I’ve always loved flowers, but now
I don’t understand what they represent anymore. Life, death?
I’m confused.
After the ceremony, and many adventures, I decided to hate
them as much as I love them. To photograph them helps me to
analyze, dissect and ultimately accept what life is about, it its
most beautiful and hardest forms.

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Before Trump International
Golf Links Scotland
www.aliciabruce.co.uk

From the series ‘Menie: a portrait of a North East Community

provide a homage to ordnance survey and a documentation of

in Conflict’

the Menie landscape during August 2010. Now changed, never

Factory manufactured plastic pipes with painted numbers mark

to look the same again. The natural landscape shown here no

out a natural landscape which faces imminent destruction.

longer exists.
These images are about changing the natural wilderness into

In summer 2010 construction of the controversial Trump

an Americanised golf course, a machine for experience. The

International Golf Links Scotland began. Menie, an area of

impact of this on the landscape is undeniable and produces the

outstanding natural beauty and SSSI (Site of Special Scientific

same experience as would a Scottish Disneyland for adults.

Interest) on Scotland’s North East coast became a site of
conflict. Locals were harassed, bullied and belittled. The Trump
organisation declared plans to re-name Menie ‘The Great
Dunes of Scotland’. This series records Menie as destruction
begins using the mapped out golf course as a form of ordnance
survey. Trump is now considering abandoning the project as
the Scottish Government approves plans to construct a wind
farm off the coast calling First Minister Alex Salmond ‘Mad Alex’

Tom van Eynde’s photographs re-envision the portrait
canons of Northern European art, & Flemish painting in
particular, from the 15th through to the 17th century.
While completely modern in appearance, these images
draw us to that time when portraits were more than
simple snapshots, a time when having a portrait made
was considered a status symbol, not a lucky throwaway
moment, or a screen capture on a cell phone. These
images are purposefully large too, usually printed 30” x
30” on 44” x 46” sheets.
The models are staring out at the viewer, imbued with
the timelessness of their nobility. They radiate power and
sophistication. The use of forgotten fashion devices, such
as the Cavalier Collar or Ruffs becomes the cornerstone
where the reality between time and medium is blurred.
While we would never wear these collars today, they
seem strangely contemporary. They bring to our mind
paintings by Jan van Eyck or Frans Hals, yet the sitters
appear resolutely modern.

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Unlike those paintings, these are not images that took
weeks or months to make; they were recorded in an
instant, harnessing the beauty of the photographic
image, deceptively simple and elegant. They are about
that magical moment between artist and model. The
identity of the sitter is magnified against the isolation of
the austere background. Their characteristics, humour,
vanity, seriousness and beauty, all are evident in the
truth of the medium.